本文選題：祁劇 + 彈腔�。� 參考：《湖南師范大學(xué)》2011年碩士論文

【摘要】：祁劇是孕育在楚南這塊肥沃土壤中的戲曲奇葩。在歷史長河中,風風雨雨走過了500余年的歷程,祁劇的音樂文化內(nèi)涵極其深厚,受到廣大群眾的歡迎。本文以祁劇彈腔南路作為研究對象,以實地考察為基礎(chǔ),結(jié)合音樂學(xué)、民俗學(xué)、音樂美學(xué)、歷史學(xué)等觀點,運用民族音樂學(xué)基礎(chǔ)理論,從祁劇彈腔南路的源流、聲腔、器樂伴奏、審美特征以及傳承這五個方面進行深入,企望填補目前祁劇彈腔南路研究方面的一些缺失,為祁劇的深入研究增添新的參考材料。 文章主要分五大部分： 第一章從祁陽的地理位置、人文環(huán)境、社會習俗等方面闡述孕育祁劇的獨特歷史與文化背景,對彈腔南路的源流進行概述,對南路的幾種來源提出自己的看法；第二章主要對南路板式的腔節(jié)落音、句末落音、旋律進行、節(jié)奏音程以及音樂所表達的情感進行詳細的分析,為研究彈腔南路聲腔的審美特性提供理論基礎(chǔ)；第三章針對目前祁劇研究在彈腔南路唱腔器樂伴奏方面涉及較少的現(xiàn)狀,對南路文武場樂器進行了簡要介紹,并對生、旦兩個角色的弦樂過門伴奏進行比較與分析,對打擊樂伴奏的作用進行舉例分析并進行闡述,旨在為彈腔南路唱腔器樂伴奏方面提供一定的研究參考；第四章通過將彈腔南路唱腔與北路唱腔、南路的旦行唱腔與生行唱腔進行對比,分析其內(nèi)在組成結(jié)構(gòu),總結(jié)彈腔南路唱腔獨特的審美特征；第五章通過田野調(diào)查,對造成其現(xiàn)狀的原因進行較深入的分析并提出一些看法和建議,意在對祁劇的保護與發(fā)展提供一些參考。
[Abstract]:Qi Opera is a wonderful opera that was conceived in the fertile soil of Chu Nan. In the long history, through more than 500 years of history, Qi opera music and cultural connotation is extremely profound, welcomed by the masses. Based on the field investigation and the viewpoints of musicology, folklore, music aesthetics and history, this paper applies the basic theory of ethnomusicology, from the origin and flow of Qi Opera Chamber South Road, from the source of Qi Opera Chamber South Road, and from the voice of the South Road of Qi Opera Opera cavity, based on the views of musicology, folklore, music aesthetics, history and so on. Instrumental accompaniment, aesthetic characteristics and inheritance of these five aspects in-depth, hoping to fill in the current Qi-ju Chamber South Road research deficiencies, for the in-depth study of Qi drama to add new reference materials. The article is divided into five parts: The first chapter expounds the unique historical and cultural background of Qi Opera from the geographical position, humanistic environment, social custom and so on, summarizes the origin and stream of Guancao South Road, and puts forward his own views on several sources of South Road. In the second chapter, the author makes a detailed analysis of the South Road floor, sentence, melody, rhythmic interval and the emotion expressed by the music, which provides a theoretical basis for the study of the aesthetic characteristics of the projectile South Road. In the third chapter, in view of the present situation that the research of Qi Opera involves less instrumental accompaniment in the Pian cavity South Road, the paper briefly introduces the Wenwuchang musical instruments of Nanlu, and compares and analyzes the string crossing accompaniment between the two characters. The role of percussion music accompaniment is analyzed with examples and expounded in order to provide a certain reference for the research of instrumental accompaniment in the south of the chamber. In the fifth chapter, through field investigation, the author analyzes the inner structure of the singing and summarizes the unique aesthetic characteristics of the canto. This paper makes a deep analysis of the causes of the present situation and puts forward some opinions and suggestions in order to provide some references for the protection and development of Qi Opera.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J825

【引證文獻】

相關(guān)碩士學(xué)位論文 前1條

1 楊顏嘉;澧州荊河戲的唱腔研究[D];湖南師范大學(xué);2012年

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本文編號：1967000